“Characterized by the absence of static, of any type. Love on a stick, meaning in concentrated form.

We bandy this term about a fair amount, it issues forth from our lips, and pens, with great frequency which, no accident, is the mortal coil in pursuit of its roots reflecting the desire each of us has to upgrade, so to speak, to eventually return unto the fold. White Light is a synonym for liquid Love, a visual interpretation of what Love is.

To place someone or something in White Light is to wish them optimal growth, like dousing them with fertilizer in a cosmic sense. Of course, such wishes open the door for lateral and bi-lateral expansions. All doors being open in the case of White Light make it even more interesting to see which one, or ones, the people being surrounded by it will choose.

Another way to look at placing yourself, others or a given situation in White Light is to think of it as an opportunity for the greatest degree of success, the best use of resources. And we can do no higher service to our fellows, brothers and sisters, than to place them in Love, surround them with it, what White Light IS. Ecco fatto (there you have it.”)

“Time is NOW and only now. There is no past or future. Time marks the present in the same way that an animal marks his or her environment. Time also marks space, from our perspective impacting concepts, constructs and spatial relationships. For many of us, unfortunately, it’s like a little rascal always nipping at our heels. I propose instead we choose to see it differently.

The NOW is where power resides. Therefore, carpe diem ~ seize the day, a really sound piece of advice. Though we tend to view time as a measure of what is past or yet to come, it is really just a measure of where we are now as we do whatever it is that we are doing.

How can we use time to our advantage? By giving it as little attention as possible. Therefore, don’t be bound by the ticking of a clock, your calendar, electronic devices or anything else that is theoretically pulling you towards the future. Instead, just BE. Again, there is only the eternal NOW.

Time’s mission actually is to keep us in the present. But how you ask? By providing us with a false sense of the past and a shadow impression of the future, in other words, by constantly reminding us that all we really have is right here, right now ~ in the moment.

There are endless simultaneous NOWS, my friends. Within each, individual events are recorded, maintaining themselves in perpetuity. If you know that each event never loses its punch because it is, just as you are in this so-called moment, you will get what you need to know about time and how it works.

I suggest we view time as an infinite number of interlocking NOWS, each separate yet always in the process of morphing into the one that appears to immediately precede and follow it. Events are found inside, wrapping themselves around each other like a series of Russian dolls. What seems to us as aging is nothing more than the same dynamic at work.

It may also be helpful to think of time as a wheel, full of individual cogs, each representing a particular NOW. Those of us in the Astral can focus on any one of them or on any combination thereof ~ if we so choose. That is how we are able to ‘take a look’ at things ~ by scrolling through so-called past or future events. By the way, all happenstances, be they of great import such as a volcanic explosion or almost imperceptible like a single leaf falling from a tree, have equal weight.

Others before me have exhorted you to be in the moment. Now I would like to follow suit. Make each NOW, therefore, a very conscious event whose purpose it is to entwine the various strands of our lives, including the genetic, knitting them up. Who knew life was about producing handicrafts? Well, it is. We literally spin our own webs!

For many, time implies movement. The truth is, however, that time by itself goes nowhere. It only seems to. Clocks are just ornaments, pretty things to look at ‘from time to time.’

That a year has an end is something that cannot be. Nevertheless, each acts as a marker and in that sense is to be reflected upon. As a result, every December 31st we have an opportunity to look at the choices we’ve made during the previous twelve months and think about what we want to do now as we appear to go forward. However, as you already know there is no forward, only other versions of the NOW.

To reiterate, life is a series of interconnected NOWS, all lined up next to each other in an infinite perspective of endless horizons. Time itself is a fantasy. What we perceive of as time passing can be attributed to shifts in our own vibratory rates, enabling us to become associated with and participate in any number of different events ~ as we see fit.

Many of us were brought up believing that time is something that we can either make good use of or waste. But is that really the case? No. There is no such thing as wasting time even though the continual comings and goings of the Sun and Moon sometimes tend to support that impression. Everything we do has both purpose and reason.

Time was conceived of to help us deal with change, or rather the fear of change. Transition, what we call death, frees us all from bonds, including those having to do with the illusion of time. Eternal is not just a word, it is emblematic of how things work.

Again there is no time. It is merely a concept. We are all time-less. If you will, think on that. Also, notice the extent to which time and our references to it tend to permeate our thinking.” ~ Rodolfo Valentino

Numerologically, two numbers in particular are keys to understanding the trajectory of Rudolph Valentino’s life, Eight and Seven.

I like to think of him as “Infinity Man” because the address of the house he was born in, Via Roma, 116, Castellaneta, Italy adds up to 8 which when turned on its side becomes the infinity symbol. And the cemetery where he is buried in Los Angeles uses that same symbol as its logo which, again, when turned upright becomes an 8. Alpha and Omega!

Rodolfo was born on 5-6-1895. (Happy Belated, RVG!) The number he is working, therefore, is 7.

“These individuals share their high vision and reveal new possibilities through their creative endeavors as they express truth and beauty. Their intense eyes and sparkling energy and their crisp, refined qualities reveal them as high-minded “angels” in human form. Having found unconditional, but not naive, trust in themselves and others, they see the inherent perfection and larger workings of a loving Spirit, even in the most difficult of circumstances. Inspired by a higher purpose, they find deep meaning in uplifting and moving others to a more refined, elevated sense of their own lives.” ~ excerpted from “The Life You Were Born to Live” by Dan Millman.

What a confirmation of how the public perceived and reacted to Rudy, his arc as an actor, public and private persona! And that was always his stated goal, that his pictures and the parts he played move audiences to a higher place, in other words, expand consciousness. Bravo, Rodolfo, for a life well-lived! ~ Wayne Hatford

As chronicled by a number of his biographers, Rudy had an avid interest in spiritualism and the information he received, whether intuitively or through participating in séances and automatic writing sessions, was instrumental, he would say, in conducting his life. In fact, during his marriage to Natacha Rambova they both pursued channeling as a tool for enlightenment, and it was by this means that Rudy wrote and Natacha edited “Day Dreams,” published in 1923.

The two most frequently cited spirit guides are ‘Black Feather’ and ‘Meselope.’ In channeling my contribution to his legend, the posthumous autobiography, “Rudolph Valentino The Untold Story,” I decided to solicit Rudy’s reflections on how they impacted his life, then and now. ~ Wayne Hatford

BLACK FEATHER (Native American spirit guide)

“Black Feather was the type who would tap me on the shoulder prior to any important life decision, as if to say “Rudy, is this really what you want to do?” He was a validator, therefore, of last resorts. Not him per se, but his imploring me to reflect placed me exactly where I should be: on the hot seat as emperor of my own domain for we are our only final arbiters, in all cases. Black Feather’s presence in my life also injected instinct, a most important element of Native American lifestyle, what their survival often depended on. So I followed mine, and was encouraged to by him, in direct communication and not, within and without.

He was a mentor par excellence et je suis fort reconnaissant du rôle qu’il a joué, (and I am very grateful for the role he played) often center stage. Merci, mille fois! (A thousand thanks!) We work together now which you should not be surprised to hear, as comrades and compatriots.”

MESELOPE (Ancient Egyptian spirit guide)

“A different story, as he and I did know each other once in incarnated life whereas that is not the case with Black Feather. Meselope was a scholar who advised me, a sounding board in the position I held under Pharaoh Horemheb, that of Vizier, the one you (speaking to the author) are also familiar with, where we sometimes walked the halls at night seeking shooting stars. Later he moved up the ranks to keeper of my scrolls, master scribe, overseeing others. So that life-time left a strong imprint on my soul and I carried the energy inside and, as I expressed Rudy, some of it appeared. Meselope knows how to anchor. That is how he helped Natacha and I when we called out to spirits to respond to our questions, held automatic writing sessions to create our book. He, too, is a trusted comrade.

Meselope carries the scent of ancient Egypt, incense, perfume, and along with that, the consciousness, great order and purpose of that society. For me, in that incarnation, it was truly a wonderful place to be alive. Oddly, he has an even stronger connection with Natacha having once been her father and then again her prince. His was an exemplary role in each of our lives. I remain eternally grateful to him and here we do also converse. What a solid, constructive force in the Universe, this is Meselope!” ~ Rudolph Valentino

“Mr. Hollywood! If ever there was a quintessential figure, someone audiences could rally around as both hero and rogue, it was Doug. He had the magic, the one that propelled him to great heights. Of course, that he had control over his pictures was paramount. He did not need to kowtow to studio demands or act in simpering productions, stale pieces of bread, even crusts, which is what I would liken some of the product of those days to be. And Doug was a really nice guy, funny, witty, always with a sly sense of humor. His physical prowess obviously delighted viewers, made him, for a while, top box office. And he picked his projects well, wished me all the best with “The Eagle” and “Son of the Sheik” once I had joined the United Artists stable of stars.

We were a bit competitive physically, had to show off to each other once in a while, our abilities with riding and sports. I have fond memories of Doug, and how our careers were, in a way, complimentary. My favorite Fairbanks film was “The Thief of Baghdad.” An incredibly impressive work of art and it was fun to watch!” ~ Rudolph Valentino

Rudy was a big fan of integrating his own life experiences with cinematic art, something he was innately able to accomplish as an expression of self.

Indeed, he was talented in a number of arenas, having a natural affinity for other careers which could have allowed him to assume those mantles, should he have wanted to do so. Rudy did work as a dancer, and gardener, for example, but he surely would have also been an excellent auto mechanic, photographer, or movie director. The roads not taken!

All of his personal interests and abilities were brought to bear on his work in front of the camera, and I propose Rudy used these bits and pieces of his personal reality to help create the color and vibrancy his screen roles encapsulated. As celebrated as his public persona became, there was always a sense that deep down inside he was an “every-man,” therefore infinitely relatable. Rudy showed us his heart, in a way that no other actor, before or since, has ever done. ~ Wayne Hatford

Rudy’s experiences with the major studios he once called home can be likened to a “montagne russe” (roller coaster) in terms of propulsion and up and down motion. Universal was his first important employer, and four of the films he did there, along with his respective leading ladies (Carmel Myers and Mae Murray, each X 2) helped launch his career, their popularity at the time providing heft. In these movies, Rudy got to explore his playful side, even experimenting with pratfalls in “All Night.” He was also cast as a non-ethnic, certainly not the case later on.

Then, following a string of small roles and bit parts, Rudy signed with Metro to star in the “Four Horsemen of the Apocalypse,” an unqualified hit and the first instance of million dollar box office. Here Rudy was at the top of his game, the pieces coming together to create one of his most memorable roles. All that, and the tango too!

In a move one could only deem blasé, the studio then cast him in a series of lackluster, though at times interesting, follow-up films where his innate luminescence always ended up transcending the material. In truth Rudy probably would have created interest with the visual equivalent of reading a phone book; such was the magnetism he projected. Personally I like everything he did on screen, all his roles to greater or lesser extents, because they exuded magic, an ephemeral, quixotic spark.

Metro’s indifference soon translated to Paramount’s gain, as he started working at Famous Players-Lasky where they immediately cast him in what was to be his seminal part, Ahmed the Sheik. Loads of interest and box office cash resulted and Paramount knew they had a phenomenon on their hands. Unfortunately, they, like Metro, did not follow up very well. Several decent pictures ensued but only one other really notable one, “Blood and Sand.”

Rudy’s final employer was United Artists, the studio founded by Mary Pickford, Douglas Fairbanks, Charlie Chaplin and D.W. Griffin. His last two films were quality projects, and each allowed him to shine, again at the top of his game. By all accounts, he was delighted with his work in “The Eagle” and “Son of the Sheik” the latter providing an opportunity to reprise Ahmed, this time père et fils (father and son.) The roller coaster ride ended on a high point, and Rodolfo left this world at the peak of his fame, a level of renown that continues to this day! ~ Wayne Hatford

“My co-conspirator, for that is how we felt and even remarked upon while constructing the ‘Sheik’ films. We exchanged pregnant glances off set and sometimes on, when demanded by the director. Some would say my performance as the Sheik was eye-popping and it was that at times, again as the director so required. But, all in good fun!

Agnes was both very down to earth and quite a proper lady, though she also did not blush when there was a slightly risqué joke being shared. She and I discussed our roles a fair amount, especially during the second outing. I lament the chagrins she faced with her husband and personal life. Post-Sheiks, she apparently was high strung and had some difficulties reconciling her reality. This was not foreshadowed in our interactions; I was unaware of it at the time.

Agnes so graciously returned, as you know, for a small role in “Son of the Sheik.” I think our work together was solid and I shall forever be indebted to her for a great deal of my success or rather how I most impressed the public, which was in this vehicle, not my preferred means of conveyance but ultimately rather effective. There was never any romance between us yet we were able to play at that, hint of its existence in how we comported with each other. She remains in spirit but we are not in touch at the moment. Dear Agnes, such a formal name! She found herself in a position of great envy, breathing life into Mrs. Hull’s confection.” ~ Rudolph Valentino

My most recent book, “Rudolph Valentino The Untold Story,” examines many of the personalities that surrounded him, his exploits, relationships, films and more. And it provides the reader with context, how Rudy perceived those people and experiences at the time, reflected in the mirror of NOW. The following comments were given to me recently, as a postscript. ~ Wayne Hatford

“Vengono scritti già in questo secolo, anche nel passato, diversi libri che danno occhio alla mia vita, la persona che ero, e sempre sono, nel’Al di là...(Both in this century and the last a number of books have been written that examine my life, the person I was, and still am, in the Great Beyond.)

Has everything been explained? Did the authors detailing that life-time get things right? Yes and no. Each perceived it through their own lens, perhaps not so surprising. As a result, they have tended to ignore or fixate on certain aspects, sometimes both.

Did I want to tell all in “Rudolph Valentino The Untold Story” whose title implies that I did? No, Signori, perche questo sarebbe stato troppo facile. Invece, vi voglio far pensare, riflettere… (No, because that would have been too easy. Instead, I want to make you think, reflect…)

But what this book reveals is a significant tranche of my essence as well as sanguine bits of insight and information. Not only that, it confirms and refutes conclusions that have previously been drawn. E più di nulla, sono molto lieto e volevo farvi capire questo. (And most importantly, I am, by nature, an ebullient individual and wanted you to understand that.) Some claim I was often despondent or melancholy, no, only rarely so. Sopratutto nel corpo di Rodolfo, ho bevuto la vita copiosamente, goccia per goccia. (Especially in that incarnation, I drank of life copiously, savoring every drop.)

Nita played many roles in Rudy’s life, the most important of which were co-star, friend, and intimate. Excerpted from “Rudolph Valentino The Untold Story,” here are some of his observations on their personal rapport, also her impact on movie-goers.

“This woman was one of the best foils any actor could ever have! We were opposites but that allowed us to compliment each other. Attractive but not pretty in a conventional way, she could convey the most nefarious mannerisms, vamp-like behavior that was thoroughly, and morally, bankrupt. Nita and I were great buddies and the rumors are true. We did once explore when everything seemed new. Then we had a laugh about it later, curiosity having paid its due. Without Nita to support me, I could not have mastered those roles as effectively as I did. She was an icon and, of course, the women in the audience were not threatened by our kisses, knowing that we would not truly succumb.

Nita was the archetype of temptation every time we appeared together on screen. In real life, however, she was blasé, never took Hollywood too seriously, yet grateful that her look, and demeanor, were so perfect for the moment. I remember her fondly. Love, Rodolfo.” ~ Rudolph Valentino